Firmly established as the first lady of vocal fluidity, Bernadette Robinson draws generously upon her unique gift to summon a sumptuous smorgasbord of international Divas.
The title of new work Divas reads as a witty inversion of the show that originally brought Robinson to the attention of theatregoers. Songs for Nobodies focused on quiet women on the fringes of life who admired and cherished iconic female singers. Here, the spotlight is squarely on the artists themselves, with no less than ten diverse and iconic divas brought fleetingly, dramatically, and ovingly to life.
The term tour de force might tend to be bandied about somewhat freely but there really is no better way to describe Robinson’s extraordinary performance, the sort that really needs to be seen with your own eyes and heard with your own ears. Any one of Robinson’s respectful, nuanced, uncanny vocalisations is a treat to see and hear; ten in a row is an absolute feast.
Skipping between accents, age groups, eras, and styles, Robinson barely takes a moment to launch afresh into each new Diva, summoning the spirit of each woman with almost superhuman focus.
As the audience enters, musical director Mark Jones warms the house with gently tinkling ivories, gradually joined by fellow musicians Jonathan Skovron and Bryn Bowen on guitar and drums. Playing arrangements by Jones and Martine Wengrow, the trio requires similar musical flexibility to Robinson, which they deliver with understated flair.
Divas is staged before a vivid overhead Warhol-esque artwork by Peter Simpson, illustrating the ten divas that Robinson is set to incarnate. Lighting designer Matt Cox, spotlights each artist when their time comes, but only after theatrically allowing Robinson and the music to have a chance to be recognised first.
The creation of Divas is credited to Robinson and prolific director Simon Phillips. Robinson clearly has a strong connection to the highly personal snippets of stories she tells. The economical script relies (quite safely) on a degree of pre-knowledge from the audience, cutting straight to one or two key emotional turning points in each artist’s life that provide additional heft to the second and third song in each bracket.
Phillips has drawn a relaxed and natural performance from Robinson, and she makes a wonderfully confident connection with the audience in the guise of each character. Robinson and Phillips’ respect for the divas is shown not just in the fact that the vocal impressions are never played for laughs but even more so in the fact that the entire program is entirely devoid of camp. The death of Shirley Bassey’s daughter, Karen Carpenter’s diet issues, and Amy Winehouse’s denial of rehab are handled with candid and affecting poignancy.
Among the most startling of Robinson’s transformations are the switch from the wail of Kate Bush to the earthy boom of Shirley Bassey, and from the perky twang of Dolly Parton to the powerhouse belt of Parton’s goddaughter Miley Cyrus. Just when we seem to have heard every possible facet of Robinson’s voice, she comes out with a soaring cadenza of crystalline high notes as Maria Callas.
Musical highlights of Divas include Edith Piaf classic “Non, Je ne regrette rien,” a very personal Dolly Parton rendition of “I Will Always Love You,” and “Being Alive” (Company) in the style of Barbra Streisand’s The Broadway Album.
A fitting showcase for a truly unique talent, Divas is sure to attract existing fans of Bernadette Robinson whilst also earning her new acclaim.
Divas plays at Fairfax Studio, Arts Centre Melbourne until 10 September 2023. For tickets, click here.
Photos: Peter Wallis